CONCERT “ANOMAL DANCES” FOR QUARTER-TONE ACCORDION WITH THE ORCHESTRA BY J. TIENSUU: SEMANTIC AND GENRE-STYLISH ASPECTS OF INTERPRETATION

Abstract

The article is devoted to revealing the genre, linguistic and stylistic features of the concerto «Anomal dances» for quarter-tone accordion and orchestra by the contemporary Finnish composer Jukka Tiensuu, and highlighting the problem of the genre of concerto for quarter-tone accordion with orchestra in general. The evolution of the specified genre sphere, its relevance and development prospects has been analyzed. The work of J. Tiensuu, his contribution to modern accordion art has been studied. The characteristic features of his compositional style and directions of artistic activity have been determined. The place of microtonal music and modern techniques of compositional writing in the composer's work has been analyzed.A comprehensive compositional and content analysis of the specified work has been carried out. The presence of linguistic allusions, reminiscences, oxymorons and occasionalisms in the title of the concerto and its parts has been revealed. The relationship between the program of the work and the compositional features of the concerto has been revealed. The genre aspects of the specified composition are studied, which are represented in particular by the combination of dominant-solo and bicentric forms of interaction between the soloist and the orchestra, as well as various types of soloing and game structures in the concert. The influence of the genres of suite and miniature on the formation of the concert «Anomal dances», which consists in the absence of dramatic conflict in the composition and the relative miniatureness of the parts of the work, has been analyzed. The role of pop-jazz stylistics is characterized, as well as manifestations of the comic and spectacular, in particular in the III part of the concert. The implementation of modern techniques of composer writing (in particular sonorics and aleatorics), and specific performance techniques (clusters, pitch bending, glissando, etc.) has been studied. The characteristic features of the construction of solo cadences and their location in the concert have been revealed. The place of elements of instrumental theatre in the concert, in particular in the III part of the work, has been revealed.The conclusions summarize the general results of the study. The relevance of further scientific research devoted to highlighting the trends in the development of the genre of concert for quarter-tone accordion with orchestra and microtonal music in contemporary accordion art in general has been determined.